I remember a transportation makes such noise ….

For the Disquiet Junto project 0083, R#d#ct#d. This piece uses the image of the redacted declassified document (see link below) as a graphic score for the sound. My approach was to treat the score conceptually rather than literally - to focus on the process of redaction generally rather than to interpret the specific properties of this particular document.

The source audio that forms the basis of this piece is a recording of Edward Snowden's statement given at Moscow's Sheremetyevo airport on 12 July 2013, made available by http://soundcloud.com/optinick under a CC-by-na-sa license here: http://soundcloud.com/optinick/english-shortened-snowden-july , a version that has been edited to remove the Russian translation, based on a longer recording available here: http://soundcloud.com/frank-forrester-1/full-edward-snowdens-statement I liked the idea that the source audio had already undergone one process of redaction. Furthermore, Snowden's speech was interrupted by loudspeaker announcements in the airport.

The source audio was processed using a technique I developed recently which inverts the dynamics of sound. Using the routing and parameter control functions in Reaper, the output volume is controlled in inverse proportion to the incoming audio amplitude. The result is that the gaps between Snowden's speech become the loudest sounds, while the sound of his voice is muted to inaudible levels. 

Transcript of Edward Snowden's statement:
http://wikileaks.org/Statement-by-Edward-Snowden-to.html

More on this 83rd Disquiet Junto project, in which a page from recently declassified documents related to NSA collection of telephone metadata records is treated as a graphically notated score, at:
http://disquiet.com/2013/08/01/disquiet0083-redacted/

More details on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/info

Ed redact [disquiet0083-redacted]

The term "hyperloop" gave me an idea to use oscillators that were slowly drifting between a randomized set of intervals but always returning to the same fundamental pitch. After trying several options in Max, I settled on sawtooth waves that drifted between quarter-tone intervals with the maximum no more than a minor third.

I needed numbers for the various timing mechanisms in the patch, so I googled the term "hyperloop numbers" and it lead me to the following page: http://mashable.com/2013/08/13/hyperloop-elon-musk-numbers/

This provided me with several numbers used in setting the durations between events in my Max patch, although I did multiply by 10 or combine digits in some cases.

I also felt I needed a bit more bass, so I modified the patch to produce a sine tone two octaves lower than the original sawtooth waves.

Individual layers were recorded and then imported into Logic Pro, where I added a bit of automation to the volume of each layer, as well as some overall EQ and reverb.

***Max Patch***

<pre><code>
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46m+eCuEqqB
-----------end_max5_patcher-----------
</code></pre>


***Disquiet Junto Project 0086: Hyperloop***

This week’s project may have the simplest, and broadest, instruction in all of the 86 consecutive weeks that the Disquiet Junto has been running. Thanks to the musician Cinchel of Chicago, Illinois, for helping to prompt this idea. The project has just one instruction:
 
The title of your next single is “Hyperloop.” Now, record that single 

Deadline: Monday, August 26, 2013, at 11:59pm wherever you are.

Length: Your track should have a duration of between 1 and 5 minutes.

Information: Please when posting your track on SoundCloud, include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto.

Title/Tag: Include the term “disquiet0086-hyperloop” in the title of your track, and as a tag for your track.

Download: Please consider employing a license that allows for attributed, commerce-free remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track, be sure to include this information:

More on this 86th Disquiet Junto project, in which a song was made based on its assigned title (“Hyperloop”), at:

http://disquiet.com/2013/08/22/disquiet0086-hyperloop/

More on the Tesla Hyperloop at:

http://www.teslamotors.com/blog/hyperloop

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

hyperloop [disquiet0086-hyperloop]

I like people who draw from many different interests and skills to create the career that they ultimately pursue. Nathan Wolek is equal parts musician, programmer, researcher, wildlife sound recordist, and professor at Stetson University in north-central Florida. When he’s not creating music, or writing computer programs, or working with students, he’s in the field, recording everything from NASA rocket launches  to shells swirling musically in a natural spring. Listen and enjoy—Nathan’s quite a guy.

Episode 186 - An Interview With Nathan Wolek

 [[tapedel] played & programmed customised Yamaha Disklavier Pro, Recorded To Nagra IVS 5"]

avril 14th, notes played backwards, not the audio.

Wasn't planning on uploading this to GarageBand but I did it anyways.  As far as lyrics go, here is a taste of the chorus:

For I must prevail
To spread the word of our virtue
It's in my nature
When it comes to staying anew

In my Nature

Listen to the sounds beneath the surface of the Brisbane River flowing through the city with a chorus of snapping shrimp, passing boats and curious fish tapping on the hydrophones. This is a short excerpt from a dusk live stream at 5pm AEST on July 18, 2019.

‘Listening with Three Rivers’ is a global live stream with hydrophones in the Brisbane River, Noosa River and Mary River in Queensland, Australia for World Listening Day 2019. The project is broadcasting 90-minute underwater soundscapes at various times across four days including dawn and dusk to capture the diversity of freshwater ecology.

World Listening Day is an annual global event held every July 18. Since its inception in 2010, dozens of organisations and thousands of people from six continents have participated in World Listening Day. This year’s theme is ‘LISTENING WITH’ created by internationally acclaimed sound artist Annea Lockwood. “Listening with the neighbourhood at midnight, and again at dawn. Listening with an awareness that all around you are other life-forms simultaneously listening and sensing with you – plant roots, owls, cicadas, voles – mutually intertwined within the web of vibrations which animate and surround our planet.”

River Listening is an interdisciplinary research project exploring the possibilities of freshwater ecoacoustics in the conservation and management of global river systems. The project works at the intersection of art and science by investigating the cultural and biological diversity of freshwater ecosystems, through real-time listening and underwater recording used for biodiversity monitoring and public engagement. We use non-invasive recording techniques with accessible hydrophone kits and participatory workshops to engage local communities in the process and outcomes.

Live Stream Excerpt [BRISBANE, DUSK] ‘Listening with Three Rivers’ #WLD2019

Finally got around to finishing this song.  Enjoy!

Original Man [Final version]

For anyone who doesn't know this song of mine: https://www.youtube.com/watch?v=Tdg4NtxWEaQ

Was doing quite some experimenting with this tune.  Forgive me if the drums are off.  Still trying to develop proper drum rhythms in GarageBand since all I have for them is the keyboard controls.

Also, this is my last Soundcloud recording until I can increase my minutes I have left on my account.

Caught in Time [GarageBand version]

Welcome to the first ever sound tour of Canaveral National Seashore! Open your ears, close your eyes, and let it take you on a journey through the various habitats and moods of nature found at the seashore. While moving geographically from the ocean’s shore across the narrow barrier island to the lagoon, you will also be guided through the phases of the day, from the awakening of dawn, to the contemplation of dusk, and the lullaby of owls in the night. Notice as you’re listening that each place has it’s own distinct soundscape, or collective expression of voices and sounds.  - Jack Hines

With this activity we wear two hats: One, in the role of soundscape ecologists, where we study as scientists the recorded signals emanating from both marine and terrestrial habitats. With the field data we collect, we analyze and publish the results of our findings. Our publications, while important, are read by a relatively small number of colleagues who take into account the consequences of our efforts and consider them for further research. For us, this is not sufficient enough exposure to larger audiences who really need access to our findings so that they can make informed decisions about the future well-being of their respective biomes. To address that goal successfully, we must wear our artist hat.
Through the lens of the arts, we focus more on emotional impact to put our ideas and findings across. As soundscape artists, we show how the power of sound illustrates the incredible wonders occurring in the natural world. David Bowie once said that ‘the future belongs to those of us who can hear it coming,’  All of the proofs are there – just in a different voice not usually considered, before.
With science, we stick to abstract numbers and sometimes esoteric rationale to explain the outcomes of our work.
As artists, however, we can create events we most want to hear manifest in the natural world. What’s unusual about this material is that it reaches audiences of all ages, cultures, language groups, and interest without the usual biases. That’s because natural sound is embedded deeply in our DNA, a vestige of ancient times when we lived more closely connected to and engaged with the life-affirming forests and deserts from which we sprang. - Bernie Krause, PhD

Visit https://www.nps.gov/cana/getinvolved/air-creative-contributions.htm
for the full narrative of this unique recording.

00:00 Sandy Shore & Dune 
00:25 Ruddy Turnstone Arenaria interpres
00:49 Ring-billed Gull Larus delawarensis
01:15 Saw Palmetto Flatland
01:21 Eastern Towhee Pipilo erythrophthalmus
01:27 Grey Catbird Dumetella carolinensis
01:27 Carolina Wren Thryothorus ludovicianus
03:05 Salt Marsh 
04:05 Common Loon Gavia immer
04:18 Carolina Wren Thryothorus ludovicianus
04:35 Marsh Wren Cistothorus palustris
04:41 Airplane
05:10 Coastal Hammock
05:14 Pileated Woodpecker Dryocopus pileatus
05:23 Red-shouldered Hawk Buteo lineatus
05:33 Carolina Wren Thryothorus ludovicianus
05:44 Sandhill Crane Antigone canadensis
06:23 Power boat
06:35 Boat sound underwater
06:35 Mosquito Lagoon 
06:47 Common Bottlenose Dolphin Tursiops truncatus
07:59 Snapping Shrimp Alpheus heterochaelis
08:07 West Indian Manatee Trichechus manatus
09:06 Ring-billed Gull Larus delawarensis
09:51 Visitor Center 
09:51 Flag pole and flag flapping
09:57 Bald Eagle, juvenile Haliaeetus leucocephalus
10:10 Thunder storm
11:04 Rain water in puddles
11:04 Doris Leeper’s porch 
11:23 Little Brown Cicada Cicadetta calliope
11:44 Mangrove shore 
11:48 Great Blue Heron Ardea herodias
12:06 Sandhill Crane Antigone canadensis
12:21 Osprey Pandion haliaetus
12:21 Belted Kingfisher Megaceryle alcyon
12:36 Mullet Mugilidae
13:01 Black-crowned Night-Heron Nycticorax nycticorax
13:15 Clapper Rail Rallus crepitans
13:22 Lagoon shore at night 
13:30 Little Grass Frog Pseudacris ocularis
14:30 Coastal Hammock 
14:32 Great-horned Owl Bubo virginianus
14:41 White-tailed Deer Odocoileus virginianus
15:53 Train in the distance

Soundscapes by Jack Hines & Dr. Bernie Krause

:: The Science of Soundscapes during Stetson Artist Talk with Dr. Bernie Krause of Wild Sanctuary ::

Buzzing bees, chirping birds, howling hyenas, croaking frogs, singing humpback whales, the fluttering of cottonwood tree leaves and other calls of the wild are the natural world’s soundtrack. There once was an abundance of sonic soundscapes, but they are disappearing due to altering weather patterns, urban sprawl and noise pollution.

Soundscape ecology studies biological and non-biological natural sounds emanating from terrestrial and marine habitats. Renowned soundscape ecologist, bioacoustician and the founder of Wild Sanctuary, Bernie Krause, PhD, has been recording natural sounds for 50 years. 

His lecture from November 2019 is presented here in audio format: “The Great Animal Orchestra: How Animals Taught us to Dance and Sing.” This free, community event was presented by Stetson University, Stetson’s Artists and Lecturers Series and Atlantic Center for the Arts. 

Full article:
https://www.stetson.edu/today/2019/11/explore-the-science-of-soundscapes-during-stetson-artist-talk-with-bernie-krause/

hyperloop [disquiet0086-hyperloop]

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